Fxpansion BFD2 Manual User Manual download pdf (Page 177)

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12:6 Mixing each part of the kit

Kicks

The ‘low end thump’ of a kick lies in the 40-80 Hz range - many engineers refer to this as the ‘chest’ region - because you can feel

it in your chest, rattling your ribcage!

The main body of a kick exists in the 80-120 Hz range, with the the fundamental frequency of most kicks, depending on size, be-

ing at around 80 Hz.

The body and resonance of the drum shell is found in the 160-500 Hz range. Cutting these frequencies (‘scooping the mids’)

leads to a cleaner, modern kick sound, which sits well in the mix. Leaving these in is suited more to an old-school sound.

The beater sound lies between 1 and 6 kHz depending on type: harder beaters tend to have more energy in the higher frequen-

cies. Accentuate this frequency range for a modern ‘clicky’ rock kick sound.

Alternatively, roll off some of the top end for a more relaxed, ‘woofy’ sounding kick, more suitable for jazzy or funk music.

Mic channels

The inside and outside kick mic channels sound very different to each other. The inside kick sound gives you the brighter, more

aggressive sound with less low-end and some ‘shell resonance’. This is because the mic is pointed much closer to where the

beater strikes the skin. The outside kick sound is much more like the kick sound as we hear it while standing next to the kit. It is

often deeper in bass and less ‘attacky’.

How you balance these signals is up to you, but just remember that the outside mic gives you the depth and weight while the

inside gives you the attack and deﬁnition.

Damping and tuning

On faster songs, choose a tighter kick and use more damping. The quicker the tempo of the song, the less bass and decay you

can get away with on the kicks.

Tuning the kick drum to the key of the track can also help to make things gel together nicely. This is a common solution to situa-

tions where a bassline and kick are not sitting nicely together.

Snares

The low-end ‘thump’ of a snare is usually around 100-140 Hz (depending on its size and tuning as always). Rolling off the very

lowest frequencies can help a snare to cut through a mix. Also, lowering the amount of bass affects the response of any compres-

sion applied to the snare. Less bass energy means that compressors respond better to the the transients of the drum. Side-chain

compression is an alternative way of dealing with this.

Cutting the low mids at around 250-400 Hz ‘opens up’ the sound of the drum, while removing some mids at 700 Hz reduces the

‘bark’ of the snare. The crack and attack of the snare is usually to be found between 2 to 7 kHz. If it’s any lower than 2 kHz it tends

to ‘honk’. Boosting some very high frequencies at around 12-15 kHz really accentuates the ultra-high-end ‘sizzle’.

If the snare is sounding too aggressive in the mid range, cutting at 1-2 kHz by 1 or 2 dB smooths it out whilst still retaining the bite

and weight.

Mic channels

For classic pop snare sounds, use more top mic channel than bottom. For a crunchier sound use more bottom snare, which lets

through more of the actual snare wire, resulting in more top end ‘crack’ and sizzle.

A lot of the apparent top-end crack of a snare also comes through the overheads as well as the bottom snare channel.

Damping

If a snare sounds too ringy, use BFD2’s damping functions to control its decay. Introducing damping can radically alter the charac-

ter and feel of a snare.

Hihats

Rolling off the low-end on the hihats is very useful. It removes a slightly ‘gongy’ element to some hats which can often be undesir-

able. Cutting the low-end in this way also helps hihats to sit better in the mix.

Accentuating the frequencies around 1-3 kHz tends to make the ‘stick’ aspect of the sound more pronounced, while boosting

above this range, especially at 5-10 kHz, results in more of the classic hihat ‘sizzle’.

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Fxpansion BFD2 Manual User Manual Page 177

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